LISTSERV mailing list manager LISTSERV 15.5

Help for OPERA-L Archives


OPERA-L Archives

OPERA-L Archives


View:

Next Message | Previous Message
Next in Topic | Previous in Topic
Next by Same Author | Previous by Same Author
Chronologically | Most Recent First
Proportional Font | Monospaced Font

Options:

Join or Leave OPERA-L
Reply | Post New Message
Search Archives


Subject: Re: "Herodiade" at Carnegie Hall 1963 (was Re: What is a "huge" voice?)
From: Maria Louise Augusta Helleberg <[log in to unmask]>
Reply-To:Maria Louise Augusta Helleberg <[log in to unmask]>
Date:Wed, 31 May 2017 15:35:46 +0200
Content-Type:text/plain
Parts/Attachments:
Parts/Attachments

text/plain (213 lines)


...and one understands just why Karajan wanted Crespin to sing Brünnhilde!

Big voices? I remember one Gwyneth Jones-Turandot that almost blew my head
clean off. Gleaming steel blade of sound.

Maria Helleberg


2017-05-30 20:55 GMT+02:00 Maxwell Paley <[log in to unmask]>:

> There might be more than a little truth to the "bad night" part of that as
> those were the nights in which she seemed to lose all control over volume.
> I saw Crespin in what was probably one of her last performances as Tosca
> in  1970 and the high notes were huge and loud but they were also fairly
> wild screams. The climax of "Vissi d'arte" was very loud but also very
> ungainly and you could see members of the audience physically recoil.
>
> Caballé was famous for her pianissimo but she could also approach Nilsson
> volume when she went all out, as I saw her do in performances as Turandot
> and Tosca. However, some of those sounds weren't particularly beautiful.
>
> Another very big voiced singer, less frequently remembered now, was Amy
> Shuard.
>
>  Berit Lindholm had a huge voice but her top deteriorated into effortful
> lunges quite early in her career. Interesting with her: I saw her do an
> Isolde at the ROH in which her high notes were painful squawks until the
> climax of the Act 2 Liebesnacht when she let out a free and radiant B-flat
> that led one to wonder why she couldn't sing the rest of her high notes
> like that.
>
> Farrell sounded to me like Victoria de los Angeles with amplification.
> Sumptuously beautiful and rich in the middle and lower registers, much
> thinner (but still clear and loud) above the stave.
>
> One singer I expected to have a huge voice who didn't was the Russian
> mezzo Irina Arkhipova. I saw her as Amneris and the sound was smaller and
> more fine grained than I expected. I was disappointed.
>
> Max Paley
>
> Sent from my iPhone
>
> > On May 30, 2017, at 11:07, daaaac <[log in to unmask]> wrote:
> >
> > I’ve said this before on this list, but a friend said the largest voice
> he ever heard was Crespin on a bad night :-)
> >
> > Donald
> >> On May 30, 2017, at 1:10 PM, Donald Levine <[log in to unmask]> wrote:
> >>
> >> Interesting review.  Schoenberg speaks the truth.  Crespin weilded the
> >> largest voice I ever heard at full throttle, but she could back off and
> >> sing the most delicate line and pianissimos.  While it lasted, it was
> one
> >> of the miracles of its day.  Very much like Tebaldi in the size and
> >> delicacy with which she could use it.  Of course later on as the top
> >> receded and the voice became more difficult to control, she rarely let
> it
> >> out full tilt.  Those of you who only heard her from the mid 70's on,
> have
> >> little idea of the size of this voice.  As Milanov produced a more
> >> controlled, somewhat smaller sound in the 50's and 60's compared to the
> >> absolute torrent of sound she could unleash in the 30's and 40's,
> Crespin
> >> made similar adjustments in her voice.  I will repeat it again, in the
> late
> >> 60's, on stage with Birgit Nilsson in the 3rd Act of Walkure, both
> ladies
> >> hurled forth huge tones into the Met auditorium.  Nilsson, focused and
> >> laser like, hit you square in the face.  Crespin was like Niagara, you
> were
> >> assaulted from all sides.  I guess it was like with the comparison of
> >> Flagstad or Traubel vs Nilsson.
> >>
> >> Donald
> >>
> >>> On Tue, May 30, 2017 at 9:50 AM, Max D. Winter <[log in to unmask]>
> wrote:
> >>>
> >>> Tom Ponti wrote:
> >>>
> >>> "According to one reviewer, there was little paint remaining on the
> walls
> >>> after the two ladies
> >>> [Regine Crespin & Rita Gorr] stopped singing."
> >>>
> >>> Yes, apparently it was a loud and exciting night.  From H.C.
> Schonberg's
> >>> NYT review:
> >>>
> >>> " 'Herodiade' may be a tintype, but at least it does not lack effective
> >>> vocal moments.  and
> >>> the singers last night took full advantage of those moments.  Carnegie
> >>> Hall was filled with
> >>> some of the loudest, lustiest singing heard hereabouts in ages.
> Whether
> >>> or not Massenet
> >>> intended to have his tunes belted out so violently is another matter.
> >>> Certainly the old
> >>> singers who recorded the popular parts of the score did not blast their
> >>> way through it as did
> >>> the principals on this occasion.
> >>>
> >>> "We all know Rita Gorr has a big voice.  Last night she was positively
> >>> earsplitting when she
> >>> let loose.  The leading tenor part, that of John the Baptist, was sung
> by
> >>> Guy Chauvet.  He is
> >>> a Frenchman who was making his New York debut, and he too seemed to
> >>> operate only on a
> >>> fortissimo level.  His voice is hard and lacks any kind of sensuous
> >>> coloration, but the young
> >>> man does have good lungs and is not in the least bashful about showing
> >>> them off.
> >>>
> >>> "In size of voice, Regine Crespin matched anybody in the cast.  But in
> her
> >>> case there was a
> >>> significant difference.  She can mix timbres and dynamics and here she
> >>> did, throwing in
> >>> some perfectly beautiful pianissimo singing on occasion.  Miss Crespin
> is
> >>> a dramatic soprano
> >>> with something of Milanov in her sound and production.  The one weak
> part
> >>> of her vocalism
> >>> is the somewhat jagged sound she produces at full voice above the
> staff.
> >>> Otherwise she is a
> >>> great singer, one of the really important ones of this decade."
> >>>
> >>> MDW
> >>>
> >>> **********************************************
> >>> OPERA-L on Facebook:
> >>> http://www.facebook.com/groups/25703098721/
> >>> ------------------------------------------------------------
> --------------
> >>> To UNSUBSCRIBE, send a message to [log in to unmask]
> >>> containing only the words:  SIGNOFF OPERA-L
> >>> ------------------------------------------------------------
> --------------
> >>> To stay subscribed but TURN OFF mail, send a message to
> >>> [log in to unmask] containing only the words:  SET OPERA-L
> NOMAIL
> >>> ------------------------------------------------------------
> --------------
> >>> Modify your settings: http://listserv.bccls.org/archives/opera-l.html
> >>> ------------------------------------------------------------
> --------------
> >>>
> >>
> >> **********************************************
> >> OPERA-L on Facebook:
> >> http://www.facebook.com/groups/25703098721/
> >> ------------------------------------------------------------
> --------------
> >> To UNSUBSCRIBE, send a message to [log in to unmask]
> >> containing only the words:  SIGNOFF OPERA-L
> >> ------------------------------------------------------------
> --------------
> >> To stay subscribed but TURN OFF mail, send a message to
> >> [log in to unmask] containing only the words:  SET OPERA-L
> NOMAIL
> >> ------------------------------------------------------------
> --------------
> >> Modify your settings: http://listserv.bccls.org/archives/opera-l.html
> >> ------------------------------------------------------------
> --------------
> > **********************************************
> > OPERA-L on Facebook:
> > http://www.facebook.com/groups/25703098721/
> > ------------------------------------------------------------
> --------------
> > To UNSUBSCRIBE, send a message to [log in to unmask]
> > containing only the words:  SIGNOFF OPERA-L
> > ------------------------------------------------------------
> --------------
> > To stay subscribed but TURN OFF mail, send a message to
> > [log in to unmask] containing only the words:  SET OPERA-L
> NOMAIL
> > ------------------------------------------------------------
> --------------
> > Modify your settings: http://listserv.bccls.org/archives/opera-l.html
> > ------------------------------------------------------------
> --------------
> **********************************************
> OPERA-L on Facebook:
> http://www.facebook.com/groups/25703098721/
> --------------------------------------------------------------------------
> To UNSUBSCRIBE, send a message to [log in to unmask]
> containing only the words:  SIGNOFF OPERA-L
> --------------------------------------------------------------------------
> To stay subscribed but TURN OFF mail, send a message to
> [log in to unmask] containing only the words:  SET OPERA-L NOMAIL
> --------------------------------------------------------------------------
> Modify your settings: http://listserv.bccls.org/archives/opera-l.html
> --------------------------------------------------------------------------
>

**********************************************
OPERA-L on Facebook:
http://www.facebook.com/groups/25703098721/
--------------------------------------------------------------------------
To UNSUBSCRIBE, send a message to [log in to unmask]
containing only the words:  SIGNOFF OPERA-L
--------------------------------------------------------------------------
To stay subscribed but TURN OFF mail, send a message to
[log in to unmask] containing only the words:  SET OPERA-L NOMAIL
--------------------------------------------------------------------------
Modify your settings: http://listserv.bccls.org/archives/opera-l.html
--------------------------------------------------------------------------

Back to: Top of Message | Previous Page | Main OPERA-L Page

Permalink



LISTSERV.BCCLS.ORG

CataList Email List Search Powered by the LISTSERV Email List Manager